Chicago's early-'80s return from the scrapheap did more than bring the group its biggest chart successes: it finally shattered the carefully maintained "faceless" image that had prevented any member from becoming an individual star. In the dawning age of video, the band needed a focal point, and bassist Peter Cetera – already the voice behind Chicago's soft rock smashes like "If You Leave Me Now," which had made significant inroads with the MOR audience – was the logical choice. So it wasn't a huge surprise that, following Chicago XVII, Cetera decided to use his new celebrity to strike out on his own. He'd already come close to leaving a few years earlier, making his first solo album when Chicago…
For most artists recording a Christmas record is a convenient stop-gap in between releasing new material. In Peter Cetera's case this doesn't ring true as it has been a while since we last heard from one of soft rock's most distinctive crooners. You Just Gotta Love Christmas brings to the table everything you'd expect from a Peter Cetera record: lush, pleasant arrangements with crisp, warm, polished production and able musicanship from a crew of veteran session players. It's a mix of holiday favorites mixed in with a few originals and some guest appearances from Alison Krauss and Peter's daughter Claire; who is more than up to the task of singing with her father on two of the album's 12 tracks. Cetera and Chicago fans will no doubt enjoy having this on in the background during the holidays.
Peter Cetera, released in 1981, is the self-titled first solo release by then-Chicago member and lead vocalist Peter Cetera. A much more rock-oriented album than Chicago had been producing at the time, Cetera released the album in December 1981 while still a member of the band. Commercially, this album didn't do that well. #143 in the Billboard charts. There was a suggestion that the record label didn't go all out with the promotion, fearing that Cetera would leave Chicago, just as the label had made the decision to sign the band around the same time (December 1981).
One More Story (1988) is the third solo album for music artist Peter Cetera and his second album after leaving the group Chicago. This album includes the hit "One Good Woman". It also includes the single "Best Of Times". The album was produced by Patrick Leonard, and contains an appearance by his most famous artist at the time…
Born on September 13th, 1944 in the Windy City, Peter Cetera was best known as the frontman of Chicago. With such hits as "If You Leave Me Now" and "Hard To Say I'm Sorry", Cetera built himself a well deserved reputation as a successful singer/songwriter. By the early 1970s, Chicago became one of the most popular bands in America, and Cetera's fame grew as well. Even when he quit the band, Cetera quickly returned to the charts with his smash hits "The Glory Of Love" and "After All".
One More Story (1988) is the third solo album for music artist Peter Cetera and his second album after leaving the group Chicago. This album includes the hit "One Good Woman". It also includes the single "Best Of Times". The album was produced by Patrick Leonard, and contains an appearance by his most famous artist at the time, Madonna (appearing on the song "Scheherazade" as 'Lulu Smith'). It also features Pink Floyd guitarist David Gilmour on "Body Language" and "You Never Listen to Me", as well as Oak Ridge Boys bass vocalist Richard Sterban and guitarist/vocalist Bonnie Raitt on "Save Me".
One Clear Voice is the fifth solo album for music artist Peter Cetera and his fourth album since leaving the group Chicago. The musical approach stayed the same, however, with Cetera writing or co-writing seven of the 11 songs (one of which was a remake of Chicago's "Happy Man"). The keyboards and acoustic guitars shimmered, laying a bed for Cetera's keening voice, soaring through musical heaven. "(I Wanna Take) Forever Tonight," a duet with Crystal Bernard, seemed a deliberate attempt to recreate the success of "The Next Time I Fall," Cetera's 1986 #1 duet with Amy Grant. The album's oddity was a limp cover of ABBA's "S.O.S."